This adorable video is created in collaboration with Wallpaper* magazine, the Italian brand Brioni and the fantastic Dutch design duo Lernert & Sander. You might remember Lernert & Sander from my previous article where I first encountered their work in collaboration with another fashion brand- COS. It is one of my favorite visual reference and I hope to share it with you today and hope it will bring a little smile to your face!

We like to be playful and have fun, so there is an element of mischief about this film.

For this project, the duo takes on a simplistic approach that effectively showcased the precision of Brioni's tailoring and the cheeky touch on the word handmade itself. As for myself, I have to say, that Mr.Hand definitely worked his charms on me ;)

Words by Diana Rovanio

]]>HandmadeIci Les Aubes Sont Plus DoucesculturedanceDiana RovanioTue, 29 Nov 2016 18:40:21 +0000http://www.rovanio.com/fashion-en/2016/8/8/icilesaubessontplusdouces56182d55e4b072675de7bf27:561a5bc7e4b0dfaa034e9f52:57a8c1ebb8a79bb93665f5b6"Here the Dawn is Merciful," A tribute to young girls at war, A play not to
be missed.

// Click on the image to start video //

The subject of war, especially young girls in war, is something that we don't see being depicted often. In "Ici Les Aubes Sont Plus Douces (Here the Dawn is Merciful)." The harsh backdrop of war makes a dramatic contrast to the carefree nature of the young female heroines and their well-meaning yet uptight leader in battle, Mr. Vaskov. For an hour and a half, I was transported into the wilderness. Wilderness of the unknown, of their emotions, and wilderness of hope. A hope that one day they will wake up in a world more forgiving, where dawn greets them with its gentle light; a world where no girl should ever have to take up arms as if guns are mere dolls.

All photographs & Videos courtesy of "Ici Les Aubes Sont Plus Douces"

Words by Diana Rovanio

It was Tuesday evening when friends of mine invited me to see a play. Though I have lived in Paris for the past six years, I haven't been to the theater very often. So this was an invitation that I couldn't resist. The play is the first ever French adaptation of the classic Russian novel, "Here The Dawn is Merciful," by Boris Vassiliev. This French adaptation was created by Maurice Lauricella and Olivia Combes in 2015.

The scene started with a simple phone call, which introduced us to Vaskov.

Vaskov and the call | Courtesy of Ici Les Aubes Sont plus Douces

Vaskov is the eternal face of a man who lives in constant fear that his existence will disappear in vain. Hardened by war, he clings to rules, to keep everything in line. But his stern mask often betrayed by his endearing awkwardness. He relays messages to his superior (voice of Philippe Caubère), the only connection to the world from this desolate place. It became apparent that Vaskov though an excellent soldier, is clueless when it comes to understanding life beyond duties and rules.

Maria | Courtesy of Ici Les Aubes Sont Plus Douces

We then meet Maria, a widow who lives in this grim woods. She is the rock, a figure of comfort to Vaskov and the girls. But most of all she is a woman dealing with the complexities of her own emotions. The war dealt her both happiness and sorrow. Maria represents countless of women in war juggling their life between loss and uncertainty.

 La solitude est plus encore insupportable que le deuil.

Loneliness is even harder to bear than grief

— Sabine Laurent in the role of MARIA

Then, enter the brave girls. Spirited, naive, and most of all young- too young to have been exposed to the brutality of war. Some of these girls haven't even reached the age of sixteen when they took up arms and wore red on their lips to "not die ugly".* From all walks of life, they come, united by fate. The naivety of youth tainted by their grief, the fire in their belly for revenge, but neither kill the resilience of their soul. These young women; soldiers; who dream of love, of honor. Of that majestic day when the war ends and they can go back to wearing dresses and dance in a ball.

The set of the play in its modesty functions brilliantly. It alternates from camp to forest, refuge and battlefield in swift motions.

Set conception | Courtesy of Ici Les Aubes Sont Plus Douces

What was also very interesting to me, is how the light also becomes an actor; Its menacing shadows conjure a powerful presence, ever moving, unpredictable. Its presence becomes more palpable, as there is no face to be associated, no person to be blamed or hated. Only shadows that bring darkness and death, such as war itself.

The germans will not be represented under a human form, but as shadows projected to the decor and the protagonists. Their sizes change constantly such as nightmares in the eyes of Vaskov.

— Denis Koransky, light director

In the grips of the enemy | Courtesy of Ici Les Aubes Sont Plus Douces

Another interesting factor is the sounds that were used to create the intensity of the ambiance. Especially the heartbeat effects of the young women and Vaskov. The music, as the composer has intended, breathes the hopes and fear of the characters*.

I left the theater moved by the experience. To my friends who are in Paris, I highly recommend that you go see this original play. Dramatic as it is, there is a lot of humor and laughter that makes for for a well-rounded combo for a roller coaster of emotions.

Théâtre Douze – Maurice Ravel, 6 avenue Maurice Ravel – 75012 Paris

Until 11th of December 2016 from Tuesday to Saturday at 20h30, Sunday at 15h30.

]]>Ici Les Aubes Sont Plus DoucesHypnotizeddancevideoDiana RovanioMon, 11 Jul 2016 18:00:56 +0000http://www.rovanio.com/fashion-en/2016/7/11/yanis-hypnotized56182d55e4b072675de7bf27:561a5bc7e4b0dfaa034e9f52:5783dedd579fb39232d23d18What happens when we lose control of our reality and lose our body to the
rhythm? French producer Yanis's debut single showcased these boundaries as
the participants dance through their subconscious.

What happens when we lose control of our reality and lose our body to the rhythm?

The talented French music producer Yanis and these different personalities were brave enough to move towards this blurred barrier, leaving the audience in a dazed state as we watch them unfurl one by one.

]]>HypnotizedRoberto Greco - Painter of Light | INTERVIEWfashioncultureDiana RovanioTue, 05 Jul 2016 23:57:47 +0000http://www.rovanio.com/fashion-en/2016/7/6/roberto-greco-painter-of-light56182d55e4b072675de7bf27:561a5bc7e4b0dfaa034e9f52:577c495c440243bd5e6c0992Meet Roberto Greco, the still life photographer whose career is anything
but standing still. Talking still-life, real life & finding one's place in
photography.Finding one's place in one of the most competitive industries in a foreign city is not an easy task, but Roberto Greco is carving his way slowly and surely through the photography scene. During my interview with Roberto, he told me that people are often surprise when they met him in person, as they imagine someone much older. Despite his youthful appearance, as our interview progress, there is a sense that I am talking to an old soul, Greco emanates something fragile but equally forceful, with a determined passion.

Words by Diana Rovanio | All images courtesy of Roberto Greco

D.R: Hi Roberto, very nice to meet you! Could you tell me a little bit about yourself and about your work?

R.G: Truthfully, I just discovered from first-hand experience over these past few years that what I do is considered totally different to my peers' work. In the beginning, I didn't have an impression that it was, I was naive and I have always thought that we all have our distinct identity and style as a photographer, and everyone follows their own route. But the more I delve into this industry, the more I realize that it's completely the opposite. In regards to my style, I don't know yet if it's a quality or a fault. For the moment it's both, I attract clients because of it and I also lose clients because of it.

You definitely have to be thick-skinned when you work in this industry. I’ve heard remarks such as : « It’s as if you are blind to what others are doing » but they say it like it's a fault, when I, on the other hand, thought that it was a positive, to be authentic in what you do. I think that’s what’s problematic here in Paris, this sort of unsaid conformity.

I think the last remark I had about my book was something like: "It's as if you have a portfolio of a bat" (laughs).

D.R: Looking through your work, what I like is that through each project, you can always tell that it's your touch, there is a red thread that makes it so distinct.

R.G : Well, I come from an artistic background and I regard each piece of my work as personal work. I try to bring my universe into the commercial work that I do. When I first arrived in Paris, I thought that this way of doing things was also a strength, but then they reproached me for being "too artistic". Nevertheless, I get a lot of work, especially with perfume.

R.G: I love perfume even outside the context of photography. I started unintentionally by taking photos of perfume bottles because I had them at home. Who knows, maybe If I had been someone who collected shoes, maybe today, I would take pictures of shoes and would only do that all the time !

Anyway, I soon realized that there is a very strong universe tied to the world of perfume. Often, the creator of the perfume or the brand has a complex and very narrative "autour du jus" -around the subject. There are so many stories to be told, it has its own personality, such as whether it’s a cold perfume or a hot perfume. There are also brands who reference wine, or animals, for example. Working from one brand to another then created a sort of snowball effect for my work.

D.R: What is your working process for perfume projects?

Normally, at first, I have a discussion with the creator of the brand, they tell me the universe they would like, and I propose mine. In general, I try to push for my ideas. I am fortunate that a lot of my clients are people who came to me and who trusted my vision. Then, I start the preparation by preparing the mood board, sketches, or constructing the set.

Afterwards, I try to have some trials by experimenting with things at home. Whether it's for my own project or to prepare for upcoming ones. Also, I don’t know if you’ve noticed, but the kind of light that I use in my pictures takes a lot of time. It's a picturesque kind of light that originates from paintings. Even if I have mastered this kind of lighting, it still takes quite some time to do it; I need to watch over the intensity of light and I need to do the reflections. Adding to the difficulty is the perfume bottle which, in itself, is like a piece of jewelry where the light and the reflections react differently to the object.

I think when you have an object, it’s an equivalent of a writer with a blank page. When you find yourself alone with an object, it’s the light that will start to write the story. Me, I have a black page on which I started to paint my story.

— Roberto Greco

Most of the time, my still-life projects are composed like an interrupted moment, it’s a discussion with the silence that appears from the darkness. The same goes with the light that I create, I come to paint and sculpt objects in the dark to reveal it little by little and to give a rhythm to the composition, some kind of hide-and-seek. The notion of rhythm, time, and stillness is very important to me, I try to give strength to calmness and create a dynamic of power between them.

D.R: Could you tell me about your still life projects and how you started to work with animals?

R.G: It might sound cliché, but I do love animals. My work around animals and still life especially began when I discovered the work of Jan Fabre and his piece « Carnival for the dead street dogs » (2006). I was also influenced by the Renaissance painters such as Caravaggio, Vermeer, Wilem Claeszoon, Zurbaran.. but these last few years I am more drawn by painters such as Chirico ou Giorgio Morandi. More graphical and metaphysical.

My first still-life series that I did in 2012 or 2011 was the Baroque style still life, the still life of the Renaissance era. The idea is to show different animals to those which you normally see in paintings in order to bring out the playful side. That’s where I discovered the universe of taxidermy. It has always fascinated me, and it made me discover a whole other side of Paris. You can find huge taxidermy shops here. Afterwards, several brands approached me to do a similar project, but it has been quite a while since I used animals in my projects, but it's true that people often still ask about it (laughs).

D.R: How was the experience of directing animals ? Do you leave them to do their thing or do you have ways to direct them ?

Well, in the video with the snake, I couldn’t do much, it was me who adapted to its rhythm. As you can see, it was in a vase, I think it was so comfortable in there that at one point it didn’t want to come out anymore! The owner then splashed some water to lure it to come out.

When I worked with mice (which I am more used to now) I have a technique to protect the set which is blocking all the places they might sneak in and hide, all while creating a flow. Otherwise, the animals are often already dead, they are either taxidermy or I buy the bodies of animals that are already dead. Though it might sound odd, sometimes it does happen.

Concerning the work of other photographers, I hardly look at any. It actually distracts me, I think. I don’t want to know what’s going on, and it’s not at all by pretentiousness, I just feel that I have enough doubts that I do not wish to be confronted by the work of others every day and to constantly question if what I do is good enough or not.

R.G: Before delving into photography, I actually did horticulture, that was my profession in the beginning. And then I attended 2 schools in Switzerland : the Academy of Applied Arts Vevey (CEPV) in 2007, and then the Cantonal School of Art and Design, Lausanne (ECAL) in 2010. At ECAL they taught us how to defend our projects and to have a concept. In contrast, my first school was very technical. From the very first day, we were taught to do a 5 cm reflection, not 6 and not 4, they demanded precision. I think if I were to do my studies all over again, I would have done it in the exact same way because I arrived at ECAL with a strong technical background and it allowed me freedom to explore concepts. After I finished, I stayed in Switzerland for another two years and I arrived in Paris 4 years ago.

D.R: Do you think that your background as a horticulturist influences the way you view your photos ?

R.G: Yes, more and more so. I started a series of artistic portraits 2 years ago and I am currently in the process of finishing it. The theme involves plants and humans. I actually went back full circle to my first profession and it is very interesting because at the end, I discovered that I have a connection to plants as I do with objects. I think it should be finished in January 2017. It will be a photo exhibition in Switzerland.

D.R: Are there any other particular objects that you would like to photograph ?

People are new to me, I still have plenty to discover in that respect. It’s a completely different dynamic. When working with people, the image is constructed by you and this other person, there is this give and take. Whereas with an object… well, you can’t expect much from it, it’s all in your hands. You are the one who has to construct the image from beginning till the end.

D.R: Do you have any advice for someone who wants to enter this field ?

R.G: To change their mind (laughs)

Well, truth be told, I’m not sure I’m the right person to give advice. While it’s true that Paris is "the" place to be for photography, I still have the sentiment that I am somewhat an outlier. I think I didn’t choose the easiest way to go about it. But if this person has a certain style and he/she is brave enough to defend it, I would say good luck and dive in!

Time flies! I can't believe that it's already summer! We're more than halfway through the year! It definitely felt as if the past months passed by like a blur, going through the cycle of "Métro, Boulot, Dodo" (Subway, Work, Sleep) and trying to find some balance between. As some of you might know I have been trying the Thursday Post System for awhile and unfortunately it hasn't been keeping up with my schedule. It actually made me more anxious than excited about the blog. I also notice it is disproportionate with how I function, as you might have noticed, some week I post more often than others, and I miss having the freedom to post right after I finished with the article rather than waiting for the next Thursday to come by. So I decided that from now on I would post regularly, just not necessarily on Thursdays, and each post will be announced on facebook before the post is published .

In the meantime, I am starting to feel the travel itch. There are so many places I would like to visit still in Europe and I am very excited about. What about you? do you have travel plans in the coming months and what are the countries you would like to visit? Do you have special travel tips that you always apply to your travels?

Last night I attended the Food, Drinks & Shopping soirée hosted by La Garçonnière ; one of the new hot spot in Paris! This concept store geared towards the modern gentlemen has a lot to offer, appeasing both your fashion and your taste (buds) palette.

La Garçonnière often hosts interesting events in their store. The theme this time around is "Foodies night"! So naturally, my perpetually hungry self (my alter ego, also known as "The hungry panda") directed my path immediately to the event. I mean who can say no to food, drinks, and shopping all in one? Not to mention Men-spotting (hey, it is a concept store for MEN ;)) andfeeling fancy in a beautiful concept store.

At the door, the delicious selections of Terrines by Superproducteur were inviting me to come in. The paprika one / Crème fine de poivrons was my fave - it is also French artisanal creation (bonus points for my hipsterpiration) !

The list continues with delicious Charcuterie, sealed and approved by Federation Française de la Charcuterie, stylish jams by Confiture Parisienne, and fresh Cider by Appie. The Freshly pressed juice by Lemon was so popular that evening that they already ran out by the time I stepped my foot in the boutique. This must be due to the summer weather that started to invade Paris these past 2 days (Finally!).

to top it all off, an unusual tasting of Beer-Cookie Pairing / Whisky-Cookie pairing were created especially for the event!

The excellent cookies are creations of Jean Hwang Carrant (Look out for more about this wonderful lady and her TO DIE FOR cookies on the blog!). What's really cool is that they also created special pairings for the tasting.

I was told to start with the beer pair and finish with the whisky pair. In France, Wine pairing is often proposed to bring out the flavours of certain food. Beer and cookie are not normally the first combo that comes to mind when you think of taste pairing. However, this marriage of Porter beer and the Beer cookie surprisingly complements each other well, apparently, Brew Unique ale chemist - Michael Gilmore and Jean from Jean Hwang Carrant cookies collaborate together to create the pairing. The Beer brand was dubbed La Garçonbière in honor of the event. What is also cool is the 'green touch' of the confection of the cookie. It uses the spent grain from the beer as part of the cookie ingredient- turning waste into deliciousness. After a quick bite (continued with attacking the rest of the cookie and beer in tandem), I have the impression that the cookie actually brings out the subtlety of the flavour of the beer.

On the Whisky version, it was the opposite. After tasting the first bite, I found that the Whisky actually enhances the smokiness of the cookie. It was such a nice sensation, it's very pleasant to taste the flavour of the whisky and the smoky-chocolaty taste of the cookie with its chewy-crunchy texture. I paired the sexy cookie: "Le Smoky" with award-winning "Big Peat" whisky from Scotland (the one on the far right of the three whisky bottle on the mozaic of picture above) It was smooth and fiery, Great Scot!

La Garçonnière hosted a wonderful apéro and I can't wait to see what they will come up next. After this experience, I can confirm that their épicerie corner is definitely one not to be missed! Check out their website for new stylish goods and events!

Curious on how the concept store started and the workings of La Garçonnière? Don't miss the interview with one of the founders of La Garçonnière next week on the blog!

What other unusual food and drink pairing have you tried before? I would be curious to know! Don't hesitate to comment below!

'RAJA' - a fashion film by @giovannirustanto is being nominated by @ljifff-La Jolla International Fashion Film Festival. This event has been dubbed "The Cannes of the fashion film world. " and it is the first Fashion Film Festival founded in North America.

Darkness and light weave perfectly with the contrast of textures in this captivating visual.

Through Philip Lim's eyes and the crafty direction of Andrew Paynter, we get to see the conundrum of his 3 modern men making their way through the urban landscape in a poetic contemplation.

We’re always trying to get a mental picture of the man we’re designing for,” he says. “But he’s a little bit of a mystery; we only get glances. This film is our attempt to capture that experience of seeing someone in snatches.

— Philip Lim

Since I first laid eyes on this video, it moved me through its simplicity and its beauty. The subject of Architecture and Fashion is a time-tested match and it returns again and again in continuity. Maybe because our clothes are part of the architecture of our lives. It has its own role in shaping the so-called lines and pathways of our growth and how we express our personality to the world.

It brings out thoughts on how far do our environment influence us and the moment we consciously choose to break away from the norms of these lines. In life we each cross the point where we are faced with these three options: Do we blend in, Do we command the spotlight or Do we disappear entirely to emerge as a different person?

For now, as our gaze follows each of his muses, these little details weaved together creates a visual symphony, leaving us hungry to capture glances of his elusive personas.

words by Diana Rovanio

The beautiful music is "Paganini Rocks" - Tom Hodge remix

Hope you enjoy the video, please feel free to leave any comments below

]]>WEAVERSA Spring of ChangelifestylefashionDiana RovanioFri, 27 May 2016 17:01:55 +0000http://www.rovanio.com/fashion-en/2016/5/6/spring-of-change56182d55e4b072675de7bf27:561a5bc7e4b0dfaa034e9f52:572c7e3d1bbee0b5564a03f1Clutter and the journey to TidydomDear readers,

First of all, I am sorry that I haven't been writing here for awhile. A lot has happened since my last post, and I have been trying to find some balance, not only in regards to life, work and blogging but also in a lot of aspects in my life. I would also like to thank you for sticking with me.

Today, I would like to talk about change.

Have you ever felt like you wanted to completely overhaul your life and your habits? I am talking about experiencing a FUNDAMENTAL change, especially with your living habits. This thirst for change, especially in the way that I live my life, has been manifesting itself these past few months. Maybe it's the Spring, or maybe it's all the other changes that had happened in my life (new job, celebrating my 32nd birthday, etc.) that incited this yearning not only as a thought but also in action.

I especially would like to talk about 'tidying up' our space and our lives. Being a creative for most of my life, I can't say that I am the neatest person in the world when it comes to my living space. When I worked as a freelance graphic designer, my living space in the time building up to a deadline could attain a degree of titanic mess. Though creative people are often associated with and stereotyped for their certain degree of messiness as even referenced by this article, The Psychology Behind Messy Rooms. I can't say that I was content with this condition. I often wonder and marvel at the women that look so put together and appear to have a perpetually pristine living space. (Did they have a huge hiding room where they shove all the mess?) I yearn to be a woman who lives her life elegantly. To have a beautiful living space free of mess; both stylish and filled with objects that I love. Sadly, despite the different methods I used (tidying in rotation, discarding things I no longer need, discarding the same number of items from my closet with the same number of new items that I bought, etc.), the change has never truly lasted, and soon enough the mess is back.

When a room becomes cluttered, the cause is more than just physical. Visible mess helps distract us from the true source of the disorder. The act of cluttering is really an instinctive reflex that draws our attention away from the heart of an issue. When your room is clean and uncluttered, you have no choice but to examine your inner state.

— Marie Kondō, The Life-Changing Magic of Tidying Up: The Japanese Art of Decluttering and Organizing

Life has its own funny ways. I believe that when you are ready for a change and truly want it, the path will come to you. So, around 2 weeks ago, I was on the phone with my friend Thea Nalls, she was tidying up her place and she mentioned that she is trying a Japanese technique from the book "The life-changing magic of Tidying up" by Marie Kondo. After the phone conversation, my curiosity took over and I googled Marie Kondo.

When I saw one of her talks online before reading the book, I was not sure of how her "spark joy" method works. I was in the middle of cleaning my house and sorting my laundry, when she explained that our body has a natural reaction to touching the things we own. I suddenly noticed that I was sighing as I held the piece of T-shirt on my hands. It was an A-ha moment that prompted me to start reading the book. I then downloaded the book and ended up buying it and reading it in one go as I feel that a lot of her words resonate with me.

When I first read the book I was slightly skeptical but curious. I quickly found comfort in the fact that she said, tidying is a learned skill and not personality based. Imagine never having built a house before and being asked to create a skyscraper with all the furnishings and calculations with no guides whatsoever. Feeling kind of hopeless already?

Our parents demanded that we cleanup our rooms, but they too , had never been trained in how to do that. When it comes to tidying, we are all self-taught.

— Marie Kondō, The Life-Changing Magic of Tidying Up: The Japanese Art of Decluttering and Organizing

Well, the tidying aptitude in its essence is a learned skill not a natural talent. Of course, some people might navigate these murky waters better than others. But nevertheless, it never hurts to keep learning, especially from someone who is a world renowned expert in tidying ;). And for a tidying amateur such as I, there is a mountain of things to conquer and a long way to go to tidydom.

As I read further, I began to see things with fresh eyes. It's truly endearing to see our belongings as more than mere objects. Instead, to see them as friends whom we choose to accompany us in our daily lives.

Just as we regarded the people in our lives, we don't see each person and think "Hmm...which one am I discarding next?", but we value their presence and we guard the ones who are precious close to us - this should be the same when it comes to our things.

In our saga of owning things, the reverse is also true.

When we look into the surplus of things we have in our lives, often we don't comprehend the burden of things we cannot let go. This burden actually weighs on us until we finally make the decision to face it and follow through with action. Everything that comes into our lives serves a purpose, and not everyone / everything is meant to stay with us forever.

Easier said than done... right?

Why

Can't

We

Let

Go

Of

Things ?

But when we really delve into the reasons for why we can’t let something go, there are only two: an attachment to the past or a fear for the future.

— Marie Kondō, The Life-Changing Magic of Tidying Up: The Japanese Art of Decluttering and Organizing

The process of discarding has a deeper meaning, it is not merely an act of throwing away, but an act of evaluation of the signification of this object in your life. Does it create a better life for you? Or has it outlived its purpose? At the end of the day, to acknowledge this, not only frees up more space, but it also gives you more energy to cherish the ones that are dear to your heart.

To me, her method of keeping only things that "spark joy" serves as a training in following our intuitive feelings and to listen to our heart in our daily lives. To follow your inner compass in deciding on what you would like to keep in your life and building your life in such a way that you are surrounded by the things and experiences that speak to your heart.

Though simple, the entire process is quite tiring physically and mentally as it asks you to truly evaluate each one of your belongings by category and to decide or come face to face with your past decisions. Only YOU can know what makes you happy. The parameter of what brings you happiness lies in your hands and the same is true for objects and any decision in your daily life.

I won't go into too much detail of how to do this technique as I think the how-to is already well explained in her book. (I recommend you to read it thoroughly) there are not a lot of rules involved, but it is crucial to follow the little that does exist.

since starting this process three weeks ago, I can say that I feel the immediate effect. My wardrobe has lasted for three weeks without clutter and my jewelry is now displayed beautifully. Every time I open my closet I feel happy and proud.

From the moment you start tidying, you will be compelled to reset your life. As a result, your life will start to change. That’s why the task of putting your house in order should be done quickly. It allows you to confront the issues that are really important. Tidying is just a tool, not the final destination. The true goal should be to establish the lifestyle you want most once your house has been put in order

— Marie Kondō, The Life-Changing Magic of Tidying Up: The Japanese Art of Decluttering and Organizing

I truly hope that by the end of this process I will leave my space free of clutter

]]>A Spring of ChangeGet Fooled the Parisian Way cultureDiana RovanioThu, 28 Apr 2016 11:52:08 +0000http://www.rovanio.com/fashion-en/2016/4/4/aprils-fool-in-paris56182d55e4b072675de7bf27:561a5bc7e4b0dfaa034e9f52:57019e492fe1312243f1c3e9What happenned on the 1st of April in Paris? Since it's Thursday and we are almost at the end of April, I figured it will be nice to do a TBT!

What happened during April Fool's day in Paris? Well, one of the heartwarming pranks that happened was actually done by the Parisian transport company (RATP). April Fool's day in France is called Poisson d'Avril ( literal translation would be the April fish), There were many versions of how this name came about, some said it started in the 16th century where it is common to send food as gifts and since this date falls at the end of lent period when Christians were forbidden to eat meat, as a jest some people would send false fish as a gift, some said that it was caused by the changes made in terms of the decision on the date of new year, etc. My personal theory, it is called the April's fish because someone who would get prank will have a dumbfounded expression just like a fish ;).

The RATP did a series of witty wordplay on 13 metro stations in Paris.

Line 3 // Quatre Septembre | Premier Avril: In celebration in April Fool's day 4th of September becomes 1st of April, I was well surprised the morning headed to work as this was actually the métro station that I got out from to reach my office, a great way to start the day right? ;)

Line 3 // Parmentier | Pomme de Terre > Apparently this was taken from Antoine-Augustin Parmentier that was famous as the vocal promoter of Pomme de Terre (potatoes) as a source of food in France and throughout Europe.* I personally thought that they should have put Hachis on the other side as Hachis Parmentier (a dish made with mashed, baked potato, combined with diced meat and sauce lyonnaise and served in the potato shells) is my first association every time I think of the word Parmentier. Until this day if you visit the tomb of Parmentier you will see potatoes put by visitors to celebrate his love of potato

Line 6 // Saint-Jacques | Coquille: Ahh, the famous coquille Saint-Jacques. I actually found out about this scallop when I arrived in France, as it is not very common in Indonesia. Coquille means shell or in this case scallop shell. This is a reference to support the fishing sector in France.

Line 2 // Monceau | Ma Pelle: To salute their engineers, the Monceau station subtitle was "Ma pelle" (my shovel). This comes from the fact that since it was launched in 1902 it is, to this day, it's the only station in Paris of which the tunnel was completely dug by shovel.

Line 7 // Cadet | Rousselle: In looking up the meanings of each sign, I learned that Cadet Rouselle is a cute song that helps introduce little children to counting, I think the Indonesian equivalent to this song is "Balonku Ada Lima" (and now i have both songs in my head playing in loop).

RER A // Joinville | Joinville-le-Pont -> Joinville-le-Pont Pon ! Pon ! => 2017 will mark the 100th year of the birth of Bourvila celebrated French actor and singer, Joinville le Pont pon! pon! was one of his famous songs from the year 1951.

Line 4 // Château d’Eau | Château de sable: Château d’Eau (Water Castle) transforms into Château de sable (sand castle), referring to the Paris Plage event that will be coming soon in the summer. Each summer the banks of Seine river in Paris are transformed into a temporary beach with sand, umbrellas and tourist, not forgetting the rare species of Parisian & Parisian hipsters who were not able to escape the city as any (supposedly) true Parisian would (Summertime is the migration time for parisians to spread their Parisian-ism in other parts of France, Europe or the world).

Line 7 // Crimée | Châtiment Okay I have to admit here that at first, I have mistaken this word Châtiment (punishment) with Chatouiller ( Tickle) I thought oh how funny! Tickling Crime (Crimée= Crime, Châtiment= Tickles) Crime of tickling? Ticklish Crime? and it didn't help that I did not realize the literature reference of the book Crime et Châtiment (Crime and Punishment) by Fiodor Dostoïevski. So there I was happily thinking that it was ticklish crime until I found out the real reference. Although did you know that there is an interrogation + torture technique called the Tickle Torture that was widely used, and apparently in the Han Dynasty it was even used on nobility since it left no marks and a victim could recover relatively easily and quickly.* I guess I was not so wrong after all ;)

Line 11 // Pyrénées | Alpes : If Americans have "sex and the city", for one day Paris has "mountains in the city". But first let's start with The Alpes. The Alpes is the beautiful range of Pyrénées mountains which sandwiched the country Andorra ( as one part is claimed by France and the other by Spain). The famous tour de France is also held here. It is also the highest and most extensive mountain range system that lies entirely in Europe. Not to mention the hot spot for alpine skiing and mountaineering. This sexy mountain apparently was also a hub of crazy things and findings such as a mummified man, determined to be 5,000 years old, the Celtic La Tène culture (Thousands of objects had been deposited in the lake, as was discovered after the water level dropped in 1857 on the north side of Lake Neuchâtel in Switzerland). Hannibal the greatest military strategists in history and one of the greatest generals of antiquity was known to crossed the Alps with a herd of elephants. His fan Napoleon crossed one of the mountains passes with an army of 40,000 in 1800. In World War II, Adolf Hitler kept a base of operation in the Bavarian Alps throughout the war.*

In Paris, we use our city mountaineering skills to slalom our way towards getting in and out of the metro, We also strategize which end of the train will bring us closer to our exit. Using our inner compass we try to find our way out of the station (in the hopes that we chose the right exit and NOT the random furthest one that will put you on a 15 minutes detour slaloming your way back to where you began), to then use our city stair climbing prowess to reach the dizzying heights of the exit sign at the end of the long tunnel.

Line 3 // Opéra | Apéro: For me this was the best one, it's a reference to Hemingway's famous book A Moveable Feast, Paris has always and will always be A Moveable Feast. It also serves to remind us, especially through these dark past months that joy in Paris is alive, Opéra transforms to Apéro! #Parisestunefête / #Parisisaparty

Hope you enjoyed the little fun facts about the Parisian métro stops on April's fool day. You could also see both sides of the métro signs on the ratp website ;). I would also love to know which one is your favorite métro twist! 'til next post!

As a food lover and a perpetually hungry Indonesian, I am always up for exploring new things in Paris. So When a friend of mine texted me an article about the opening of a pop-up bento stand from Japan called EKIBEN I jumped at the occasion. So last week during lunch hour, I ventured to Gare de Lyon to try out this Japanese delight!

For the Japanese, Ekiben is not just a bento that is a companion to eat on the train, but it also represents their regional gastronomy that is derived from the local products. Historically, the first Ekiben is created in 1885 in the Utsunomiya train station at Tochigi at the launch of the railway between Ueno (Tokyo) et Utsunomiya. This first Ekiben was confectioned by an inn nearby at the demand of the railway company and it mainly consists of rice balls (onigiri).*

The cute Ekiben stand with Japanese decoration

When I arrived I was thoroughly excited by the prospect of trying the delicious Japanese Ekiben. The pop-up stand was really cute, all the employees were all Japanese and we were greeted with a warm smile and an origami paper crane that we can take home. It was really a cute touch!

Busy workers

The bento display

The bento menu

The menu consists of 5 different bento variations to choose from ranging from 8 to 15 euros.

The side of the pop up stand

Display of different dishes and its story

A friendly ambiance filled with japanese chatter :)

Different mouth-watering varieties of Ekiben

I had a hard time deciding what to order and I finally settled for the 2 Ekiben that you see from the left on the picture above (the Maki Sukeroku and the Bento Onigiri). I was joined at the station by my friend Roberto who was visiting Paris for fashion week and was leaving as well from this station. He took the famous Makuno-uchi bento. Overcame by hunger, I completely forgot to take a picture of my food when it was still instagram-worthy -(I was not able to resist those shrimps were calling my name) so instead, I took a picture of Roberto's beautiful Ekiben.

The Makuno-uchi bento is considered as the typical Ekiben and was sold for the first time at the Himeji train station in Hyogo in 1889. Now, 130 years after its creation, there are more than 2000 variety of this lunchbox in Japan. Ekiben is a good representative of"washoku" Traditional Japanese food- also known literally as "food of Japan"). "Washoku" has just been registered as UNESCO intangible Cultural Heritage of Humanity. It is also to celebrate this fact that the Ekiben pop-up stand is created to introduce this tradition of Ekiben in France.*

Washoku is written in Kanji characters as 和食. The first character 和 (wa) , means in Japan or Japanese also represents harmony, and the second character 食 (shoku) means food or to eat. Wa is considered to be the most traditional, indigenous and important value in Japanese culture. As the name implies, "washoku" blends each ingredient in a harmonious fashion, it is an intangible cultural heritage which is passed on from generation to generation and encompasses a variety of know-how and techniques which are used to prepare and present different dishes.**

The delicious Makuno Uchi Bento with dorayaki desert!

It was a delicious lunch and for a moment, I really felt elsewhere, a little escapade to Japan in Paris. The pop-up stand will be at Gare de Lyon only until the 30th of April, I have the feeling I will be back again for another lunch before it's gone. Anyone interested to join me? ;)

]]>A little trip to Japan in ParisINTERVIEW | WAKE UP JO!videofashionDiana RovanioTue, 15 Mar 2016 17:41:20 +0000http://www.rovanio.com/fashion-en/2016/3/9/wakeupjo56182d55e4b072675de7bf27:561a5bc7e4b0dfaa034e9f52:56e0162b2eeb81ca3d9a69d2A chat with one of Indonesia's aspiring creative; Septa Una who just won
the ASVOFF film festival in Paris!

//Click on the image to start the movie //

Last week-end I had the chance to have a little chat with Septa Una (Septa Absharin Husna) or Una as she prefers to be called. She is one of Indonesia's rising talent that just made her mark in Paris. On the 5th of December 2015 she won the award for best student prize in the prestigious film festival of ASVOFF; A shaded View on Fashion Film for her movie titled JO!

This film festival was launched in 2008 by the famous blogger Diane Pernet. The movies that are selected in ASVOFF debuts in Paris during fashion week and tours the globe with subsequent screenings at prestigious institutions and events like the Barbican, the Guggenheim and Cannes Film Festival in a host of creative capitals such as New York, London, Tokyo, Milan, Moscow, Mexico City. ASVOFF is not only a competition of short fashion, style and beauty films but also a travelling international event showcasing feature films, documentaries, conferences, performances and installations. Genre-bending and groundbreaking, it has already brought together such illustrious names as Chris Cunningham, Róisín Murphy, Nick Knight, Erwin Olaf, Nobuyoshi Araki, Tilda Swinton, Steven Klein, Mike Figgis, Chloe Sevigny, Dita Von Teese, Max Vadukul, Bruce Weber and Ryan McGinley as well as Yves Saint Laurent, Gucci, Gareth Pugh, Sergio Rossi, Hussein Chalayan, Mr. Pearl, Rodarte, Givenchy, Yohji Yamamoto & Thom Browne.* Last year's jury were presided by Jean Paul Gaultier. The event itself was held atCentre Georges Pompidou (museum of contemporary art in Paris).

Diana: Ok Una, can you tell me a little bit about yourself ? How did you come to France ?Una: During high school I wanted to try studying abroad and then my mother suggested that I do my bachelor's degree in France through euromanagement. I then arrived in France on January 2010Diana: In the beginning did you study the French language first or did you immediately enrolled into a school ?Una: I took an intensive course for about 5 months in Indonesia, then when I arrived in France while waiting for the acceptance from the universities I enrolled to, I took a language course for about 3 months in Caen, Basse Normandie.

Diana: I saw that you also did a degree at the Jules Verne university in Picardie, what was your major?Una: Yes I took cinematography for my master's degree then I continued with master in fashion communication at Atelier Chardon Savard in Paris. Now I'm on my fifth year.

Diana: Were you always interested in cinematography ? And why did you choose to continue your studies with Atelier Chardon Savard? :)Una: At the beginning I wanted to go into architecture (laughs) obviously it has nothing to do with what I'm doing now. But Euro Management, at the time, told me that in order to study that I would have to take art first before I would be eligible to apply and continue in architecture. Since I have always been interested in photography, I chose a major that has a relation with photography. That was how I got into cinematography. I then pursued my studies in Atelier Chardon Savarde because from my research there weren't any other fashion school that did a fashion communication programme and I liked that their programme was quite thorough.

Una directing on the set. Image courtesy of Septa Una

Diana: Could you tell me how the project came about ?

Una: Jo! was actually an assignment at the end of my 4th year. All the communication students were given a project to collaborate with the design students. My project was with Siqiwu or 547 from China. For Jo! I tried to put the spotlight in the atmosphere or the style of the siqiwu brand instead of merely showcasing the outfits. The title Jo! came from the real name of the actress; Josephine Peeters.

Diana:Did you write the script on your own or did you collaborate?Una: I wrote it alone.

Diana: How about the concept idea for the story, where did you find the inspiration?Una: From everywhere really, I did a lot of research on the movies in vimeo. Then of course, I also looked for inspiration images from the net, the visual part has always been my main interest. From the beginning I didn't want to use any dialogues, and I wanted to paint the ambience using a minimal monologue, and even then, there was not a lot of it because the visual aspect for me, has to be the main star.

Diana: And this idea of routines and rebelling from the mundane? Una: Well, that was inspired by the carefree character of siqiwu. I also noticed how the clothes in the collection has this enfantin (childish) trait. It was also mixed with my thoughts about life and life's routine that felt so excruciatingly boring (laughs).

Diana: Yeah, it's true as we grow older, often time we forget these simple joy we had when we were little.

Creative color swatch

Diana: And did the colors that you used came from siqiwu's collection?Una: yesss :)

Diana: How long was the shooting?Una: Three days. The team were actually composed of my friends.

Diana: Where did you shoot it and how did you get permission for the different locations? Una: The shoot was in Amiens, the city where I lived. I go back and forth between Amiens-Paris because my school is in Paris and now my internship is also there. At the time, we didn't have any budget for the shoot, so I was looking for ways to use what I have. The camera man was my best friend and then the shooting was mostly done in the apartment of Josephine's sister.

behind the scenes. Image courtesy of Septa Una

Diana: How did you get the permission to shoot for Jo's workplace setup dan how did you choose your locations?

Image courtesy of Septa Una

Image courtesy of Septa Una

Una: I was actually a regular costumer at that restaurant, and I noticed that the decor was in the same color as siqiwu's collection. I asked them if it will be possible to shoot there and they said yes. The owner was really kind. We chose our locations as the idea and the scenario developped. For the apartment, I wanted a modern decor instead of the typical old buildings you often found in France and I was very fortunate that Jo's sister had this type of apartment.

Diana: Were there objects that you created especially for the film?Una: hmm.. just the balloons that we put on the wall, Oh! and the writing of Comfort Zone and Where the Magic Happens with the frame.

Several props that were created for the film. Image courtesy of Septa Una

Diana: Which scene was the hardest one to shoot?Una: The last one where Jo disappeared. My team and I had a lot of discussions on how to create the effect and we finally made it by using a garbage bag.

The dissapearance. Image courtesy of Septa Una

Diana: Could you elaborate?Una: So we made a human form and put it into Jo's outfit. We then inserted hot air with hairdryer, do you follow me? So we took off the hairdryer from the plastic bag afterwards, sorry I have a hard time explaining this.Diana: So, correct me if I'm wrong but what you did was: You first took a garbage bag and created a body form with it, then you put this garbage bag form into Jo's outfit and set it in Jo's last position. Then, you took a hairdryer and made the form expand with the hot air coming from the hairdryer, and then for the disappearing effect, you pulled the hairdryer out of the plastic bag form.Una: That's right!Diana: It was really cool, she really looked as if she disappeared! :)

Framing, framing, framing. Image courtesy of Septa Una

Smiles on the set. Image courtesy of Septa Una

Diana: What was the most memorable thing from the shooting ?Una: Hard to say.. it was all very memorable because we really enjoyed the process, there were no pressure. The thing that took the most time probably was the "cadrage" (framing). Especially because the apartment was small! So often times we didn't have enough space to go backwards and get the whole framing as we intended it to be. We had several debates on how to do it and finally we decided to change most of the framing. For example, instead of "travelling" forward we went to the side.

Diana: On the credits there was a production company Manarr what was their role in the creation of this film?Una: They edited the film. It is a company owned by a very good friend of mine Simon Lemarchand and her friend; Julie Chevalier. Julie was the DOP (Director of Photography / cinematographer) and the cameraman for Jo!

Diana: Could you explain the role of DOP in the shooting?Una: Dop is the Director of Photography who took charge of the framing, lighting, dan different technical aspects used in creating a movie.

Diana: How about the songs did you choose it before or after the shooting?Una: After

Diana: Voice-over and the model are your friends or did you cast them especially for the project?Una: The voice over was a friend of Simon's! It was so lucky because he has a very nice deep voice.

Diana:Yes! it really fits the ambience.Una: yes :)

Diana: How did you feel when you were announced as one of the winners of ASVOFF?Una: So happy! I can finally make my parents proud :)Diana: Yes and furthermore it was shown at Centre Pompidou! Did you also meet with Jean Paul Gaultier? :)Una: yes on stage, when he handed me the trophy :)Diana: Did all your collaborators came for the award night?Una: There were Josephine and the main team, Simon dan Julie

The team. Image courtesy of Septa Una

Diana: Are there any other projects that you are currently working on at the moment?Una: Yes, I am actually writing another scenario, but since I am still finishing my internship I am not sure when I will be able to finish it.

Una: To be an artistic director in brand communication, to be able to create all the concept for visual communication.Diana: I wish you all the best :) thank you so much for the interview don't hesitate to let me know in case you launched another project/ film :)

Today, standstill with me for a moment...

You know that moment in life when you're in between..when you would like to move forward but lost in a sea of confusion?

Whether in life, love or work, these in between moments are a palpable feeling. Yesterday, a good friend of mine shared his struggle with this in-between moments.

I, myself had been in this situation for the past 5 years. It was a solitary feeling, one where the world seems to move on in lightning pace, but somehow, time stood still regardless how hard we tried to push the hand of time, to propel us forward.

Guilt is an emotion so ingrained in our everyday lives it’s a wonder why it hasn’t been certified as a disease. I myself am an avid guilt addict. It got me thinking how in today’s world we’ve become an expert on setting up impossible standards and so used in living on a deadline of desperation in each role we have in our lives. For example, have these thoughts ever crossed your mind:

I am NOT a perfect friend/son/daughter/parent,etc.

I am so bad at (insert your field / skill of choice here)

Why can’t I be more like_________

Or

If I lose (2,3,4, (insert kilos here) then I will be happy)

If I can have ___ then I will be happy

If I can reach___then I will be happy

If ______ happens, then I will be happy

And so on

But why? It’ s so crazy!!! Even Barbie has given up on the idea of perfect (except for sarcastic socality Barbie, she is awesome!) .

Anna Wintour, the empress of fashion, whose entire job is to propagate perfection had even said that it’s a lost cause.

When did we forget that life is not a perfect instagram picture? It seems that everyone’s trying to be ‘iperfect person’ as if we’re filling some kind of perpetual catalog. Because in this world where 3 years old can sing like Beyonce and teenagers become billlionaire in a second, who has time to waste? ‘perfect is not real ‘ goes from one ear out to the other. But think about it, who wants to be friends with perfect? It will be like being friends with someone that you can never relate to because that person is well… perfect, what does he/she know about lashing out when you didn’t mean to? Or your frustration with the zits that just kept popping out of nowhere, or how heartbroken you are when you failed even when you’ve given it your best shot?

All of this guilt of feeling not good enough will only make us despise ourselves, whoever we’re trying to please and whatever we're trying to achieve.

When I was living in Indonesia it felt like I was living a double life. Being the first child in the family, I had to set an example for my siblings I suffered from the « not perfect child guilt ». I was trying so hard to mold myself into the image of perfect daughter/student/sister on top of whatever idea of « perfect» that I was trying to obtain, that I didn’t even knew who I was anymore. The older I got, the more restless and contradictory I felt. This separation of image about who I was and who I was supposed to be in the eyes of my parents and everyone else, was a ticking bomb of guilt waiting to happen. I was also very confused because I had a completely different idea about how I would like to live my life than how my parents had see fit.

My Parent’s View:

Birth>childhood>work>get married (the apogee of achievement) >children (the second apogee of achievement)> more children> end game

Mine:

Birth>Childhood>find my life calling> travel> live on my own >buy my own loft (again my inner hipster is taking over) > (maybe) find a soulmate > (children?? Let’s see about that) > fabulous funeral with my friends and (possible soulmate & children) talking about how great knowing me as a person and how fun the funeral party was.

It might seem simple enough but in reality, it wasn’t. Why? Well in Indonesia it’s very common that a child, esp. a girl to live in their parent’s house until the day of the wedding and then to move to the husband’s house. It seemed to me at the time that I have to be this perfect child at all cost and suppress all my ideas, because:

1. My wants are wrong

2. My Ideas are impossible

3. I will Have to follow this fixed timeline to be happy, for my parents to be happy and to make them proud.

The more I felt that I had to conform, the angrier I became. The idea of a different life kept spinning in my head but at the same time, I felt guilty of wanting it. I felt guilt for wanting to leave the beautiful home that they have built, guilt for being an ungrateful child, guilt for not living up as the perfect daughter. I was so miserable to the point where I felt I was but an empty shell living on an autopilot. I also felt guilt for being angry all the time. it was guilt after guilt after guilt. I was not able to see the love that my parents had, nor that I believe that they would accept me as I am.

Sadly this also affected my parents, who felt guilt for not being the perfect parents, because how could they be when I was so miserable. And I felt guilt because no matter how good they are to me, I felt that I had to erase myself to make them happy. It’s a never-ending evil cycle.

I felt relief, freedom and hope. For once in my life, I was able to think without the voices of guilt following my every step. It gave me time to reflect and little by little patched my relationship with my family and with God. I was able to see that what we had was a difference in opinion. I found strength to dismantle myself and put myself back together piece by piece.

It all came full circle when my mom visited me for the first time in Paris.

I was scared shitless. Will we survive 10 days in a 18m2 apartment without fighting? Or worse; me hurting her with my words. How will we survive when in our house in Jakarta with so many rooms to escape to, we still managed to hurt each other.

But something wonderful happened.

This time, the roles were reversed, I was the ‘parent’ I managed to show her that I can handle the city, take care of us on all of our trips and enjoyed each other company. And this, in turn, made my mother see me in a different light. It boiled down to the last night when I was cooking her dinner for the first time in my life. At the end of it, she stared at me, looking so proud. I gathered up my courage wanting to apologize. How, how do you say sorry after causing all these wounds to a person, I stared at her... the words and tears started flooding, she took me in her arms and we just hugged there in silence for awhile. We found our peace, somehow, after all these years.

I will forever be grateful to my parents who had the wisdom and gave me the permission to go and supported me throughout, my friend Janice for being there to count on and also eased the mind of my parents to have someone there together in the foreign continent they know so little about. And mostly to God because through all of my journey till now, I have always been so protected despite everything that could have gone wrong.

So to all my brave friends who are reading this, I just would like to say, that it’s normal to feel lost, we all go through these periods together. We should never be afraid to shape our lives the way we want it to be or to give ourselves a break to revise and breathe. It is okay to not be the perfect self that we envisioned ourselves, we are all a work in progress all through our lives. If you think about it, there is no standard life manual. We go into these roles (parent, friend, child, etc.) without a clue, it’s like building a house when you’ve never built one, life is not an ikea furniture project. How we reach A to B to Z may not be as simple. We do it according to our knowledge and to our best abilities.

I haven’t completely figured out my life either, and there are days when I pushed myself down because of this feeling of lack, but I think the only antidote to this, is practice to be grateful. Cherish each breath, each laughter, and even each struggle, cause as Beyonce said, we all might be Bill Gates in the making (though I prefer to be Beyonce in the making) ;) let's all strive to live in a world where ‘parfait’ is just a delicious dessert. Because who ever said that we can’t have our cake and eat it too? ;)

Today I would like to share with you one of my all-time favorite video installation. It is done by artists and filmmakers Lernert & Sander. For those of you who are interested in the field of Artistic Direction, you should definitely check out their work. In this era of cheap tricks and sexualization in marketing. The Dutch duo breaks out of the box with their simplistic ingenious ideas. *They produce high conceptual art films, eye-catching installation, with a keen fashion aesthetic.*

Take this concept of visualizing sound, for example; It showed how the imagination and what we perceive as 'sound' can be derived from so many different sources that are distilled into one. Each element complements each other, from the styling, the installation and the scenario. What I love about their work is also their sense of humor and their sharp execution. Minimalist and clever, It draws the eye to each detail and shows the true power of an idea.

164 degrees on the equator is a surrealistic journey through the eyes of two talented young photographers Charles Negre & Thomas Rousset. Both making waves in the industry with their artistic flair. I met them at their launch event at the hip Études Studio in Paris. Our conversation started when one of the pictures caught my eye and peaked my Indonesia identifying radar. It parlayed into an interview with Charles over coffee; talking fiction, travel & painting a 7-meter tall tree in the middle of nowhere.

Words & images by Diana Rovanio

D: Diana | C.N: Charles Negre

C.N: you recognized that It was in Indonesia but you didn't know beforehand right?

D: No, I had no idea that it was shot in Indonesia but I saw the images and it peaked my curiosity. That was why I approached you and Thomas to ask about the location of the shoot.

D: So where did the idea of 164 degrees on the equator came from?

C.N: Well the title came afterward. The basic idea is to create a fiction in a geographical context, the furthest possible. It was a coordinates of a location next to Indonesia in International waters, an imaginary island that belonged to no one, a fictional universe.

D: Why Indonesia?

C.N: We chose Indonesia because like in the movies, we wanted to choose a decor, and since in Indonesia there is everything, the ocean, the forest, volcano, all of it creates an amazing backdrop to create images. We chose Indonesia also because of the people; we knew that it was very easy to work with them and we have contacts there. So we went there because of all these reasons. Our starting point was the concept of fiction and we wanted to carefully prepare the stage. It was important to us that we can then expand to numerous countries all over the world. One thing for sure, there will always be these characters and a mysterious backdrop, for example, do you recognize this one?

D: I was wondering about that, it's a game right?

C.N: Yes! It was a game! People played it on the streets and those who lost had to pin all these drying clips on their ears, so the passerby on the street can see the person who was losing. It was a sort of humiliation for the loser. We saw that and we did the scene arrangements. The drying clip was a small thing but we took it to a bigger scale, It was always about an exaggerated detail, these little things became a little bit absurd when you modify it and, after the preparation is done, we followed our intuition. This was our daily cycle.

D: Tell me more about this hat with the birdcage it looks very interesting having these 2 separate objects composed into one.

C.N: All the images were carefully constructed, they were thought of in advance. We created objects to complement the images and then we moved on to setting the backdrop. There were hardly any images taken based on a whim. We always approached it as if we were creating a scene in a cinema.

D: Where did you travel in Indonesia?

C.N: We went to Jakarta, Yogyakarta, we stayed around a week there. We didn't have a smooth start with the project.

D: How come?

C.N: In the beginning we had all of these ideas before arriving in Indonesia but of course, once there, it was a whole different ballgame. We had to rethink about what we wanted to do and what was possible. On top of that, we didn't have our group dynamic yet. I mean, don't get me wrong, we knew each other well, but embarking to a foreign land and working for two months every day together was quite a challenge. We each have our styles; Thomas is portrait and mine still life and both of us normally work alone on our stuff. But this collaboration was good in a way, because I think alone, it would have been too heavy to bear. Together you can achieve more things. so we gave ourselves 1 week of reflection, and then we said OK. STOP. Now we're going to take pictures. We then continued our journey to Bali, Lombok, we crossed various small islands, then Flores, Sumbawa, and Komodo

D: really? Did you see the Komodo Dragons?

C.N: Yes we did! it was so cool!

D: We also went to Nusa Tenggara. Our goal was to go all the way to Kanawa Island but we weren't able to make it.

D: How did you decide on this trajectory?

C.N: We wanted to do half the trip crossing the islands and half the trip in an artist residency called Kersan Art Studio. It was a small art center in the village 5-10 minutes from Yogyakarta. Anyway, we often decided the duration of each stay on the spot. For example, when we were in Lombok we found lots of ideas so we stayed for 4 days and then we took off to a different place.

D: What was your most memorable experience from your trip?

C.N : Well, there was a moment in our journey where Thomas had an accident in Flores. He fell into a hole and his leg was completely cut open. There was no hospital in the village and we were so scared. We really thought that we would have to immediately return to France. That was the most difficult part of the trip. Then there was this image,

It might not be the most eye-catching one, but it was the hardest one to do. We had to find a tree and painted it whole. it was 7 meters long, and it took 3 of us to do it. It was quite a feat! We put it in a smaller composition here, to invite the viewers to process a little bit more on what was happening in the picture.

After the accident happened, we went back to Yogyakarta to the residency. Though it wasn't exactly what we planned, it ended well. We had our more structured studio photos there. It was our most creative moment. We had loads of fun, some the staff of the residence were our models and they were giggling all the way while doing the pictures, they didn't really understand what we were doing, but even us, we didn't know why we had these random ideas sometimes.

D: What was the last image that you did for the book:

C.N: It was the cake! We shot it on the last day. We bought the insects and the cake at the same time. You guys have the most awesome cakes. I tried to redo this image but I couldn't, nothing can beat that cake! Another cool thing was the small multicolor chicks! you don't really notice them in the beginning.

D: I remembered them from my elementary school days, there were vendors that sold them in front of the school.

D: What did you do with the objects that you created?

C.N: We left almost all of it back in Indonesia, we only took the statues.

D: Yeah! I recognize these traditional statues, normally it's in dark color and made out of wood right?

C.N: Exactly! We sprayed them with motor paints that the youngsters in the village used, to create a contemporary effect.

D: What kind of camera did you use for these images?

C.N: We created all the pictures using an argentic camera within the time span of two months. We actually didn't see any of the images beforehand. It was when we returned to France and when we developed them that we discover all of it. So the book itself took shape a long time after that. Truth be told, it was the editing part that took the longest.

D: How did you make the image selections at the end?

C.N: That was quite tough. there were so many images that we love! Once we made the selection of images, then we quickly noticed that when an image is too decorative it doesn't work. For example, this one we use it to create a mood,

Though it was beautiful it was not a good idea to put too much of it. An image cannot be there just for the sake of existing. The most important ones are the images with a narrative. Then there were also the sequences; where it was a continuation of a movement of the same image. Actually, in the beginning, that was all we wanted to do. As you can see in these photos:

He returned several times in different parts of the books it created a break and a rhythm. This was a vital point. If we were to do it all over again, I think that it had to be thought of from the beginning of the project. Like in a movie, there are several versions of the scenes, there is this main character that moved. It created a dynamic and add realism to the project. So if we were to do it again, we will create even more sequences.

D: How was the collaboration process with Études studio?

C.N: It was good, but a collaboration is always complicated, there were a lot of back and forth negotiation about what goes in the book, they wanted to control things and I do too, I had created a book sample with me, and it took all of us a year of discussion to realize the project. Thomas and I were actually surprised when we first got the book because there were a little bit more of the white pages than we expected but at the end, we are really happy with the result, and we think it showcased a good balance between both of our styles.

D: So what is the next step?

Translation : "For the only one who understood that it was in Indonesia"

C.N: For the next step, there are two possibilities, either we return to Indonesia for the second series or we embark on a different country.

I’ve learned so much from my mistakes.. I’m thinking of making some more.

— Cheryl Cole

When I turned 20 I didn't want to blow my birthday candles, because I didn't want to enter my 20's. I felt that my teenage years were over and I had to somehow, overnight, become a woman (little did I know then that turning 20 didn't automatically turn you into one). My 20's turned out to be a turbulent and exciting period. From experiencing my first love, my first kiss, my first heartbreak (and more heartbreaks that ensued after that), travelling to Europe with my longtime friend Janice, until the decision that prompted me to leave everything and move to Europe. When I found a program that allowed me to study the French language and stayed with a host family, I jumped at it almost without a second thought. I parted with the blessings and the support of my family (though it was with a heavy heart from my parents and I am forever grateful that they let me embark on this crazy adventure). At the time, I also didn't know anyone and had limited French language skills. Looking back, I was grateful of my naivety because it shielded me from all the discouraging scary thoughts & possibilities that reality unveils. But I guess those are what 20's are about right? To make mistakes, to experiment, to figure out who we are and do so without hesitation because it seemed there are endless tomorrows at our expense, with a clock ticking to age 30 when we are supposed to figure out our lives better.

Now in My 30's it felt like I have accomplished a lot and I have accomplished nothing at the same time. Let me elaborate:

In my 20's I thought that in my 30's I would be

Well off in a career that is my dream job earning tons of money, living in a cool industrial loft (unleashing my inner hipster here). In my mind, I am so rich that I can travel anywhere, support my family in whatever they might need and offer them fantastic vacations. This amazing 30 something self, is also as elegant as Audrey Hepburn and as sexy as Angelina Jolie, with gorgeous men falling all over my feet. - (ah yes, aside from naive I forgot to tell you that I have a highly active imagination)

Well, I haven't achieved that highly realistic standard - yet, but I did accomplish several things that I am proud of;

Surviving and thriving in Paris, let me just count the ways ; 8 times moving apartments; YES! it's THAT complicated to find a steady apartment. Causes of departure:

1. Moved out from the host family place. | 2. Moved to the 15th district of Paris then had an offer for my own apartment. | 3. The owner of the apartment passed away. |4.Crazy roommate- enough said. | 5. Escaped from crazy roommate then sharing a 50m2 apartment with 3 other people. Slept in the living room with a sofa bed as my bed (crowded but the awesome roommates made it fun), | 6.Co-sharing an apartment with a family. | 7. Moved to a new apartment and after a year, it had to be sold. | 8. Moved again to a new apartment with a roommate. All of -THIS- is just the living situation part.

Finding numerous part-time jobs to support myself.

Meeting so many wonderful people that I now consider as my second family, you will meet all of them in the blog one by one ;).

Organizing a fashion show in Paris!

Obtaining my degree from IFM (Institut Français de la Mode), which is considered as one of the best fashion schools in Paris (I also passed one year of coffee, sweat, and tears - my blood being replaced by the amount of caffeine I consumed).

Launching this blog from scratch.

Though all of that might seem a lot, it didn't stop me from feeling lost. I blew my 30th candle with joy and melancholy. Where do I go now? Will I find and live my passion? Will I be able to support my family and myself in the future? It seems everyone has moved on with their lives, building their family, building their career, and I, I was still standing at the crossroad.

Last night as I was talking to old friends, recounting our lives, something clicked. I realized that the 6 years that I have been living in France have accumulated to this point. It's funny isn't it? How sometimes the questions that other people pose, can guide you into your own understanding. It dawned on me, what I was truly passionate about is telling stories, and to learn about the process of how something / someone is built.

You see, the most beautiful things do not necessarily have the most beautiful process; there are often hard realities that mold them into it. It's the same with us, as people, our views and how we arrive at where we are was molded from our life experiences. There are remarkable stories and hidden beauty in all of it. Which is why, through this space, I hope to share these remarkable findings and a little bit of my life with you, flaws and all. At the end, we are all artisans shaping our lives into the best of our abilities. The power to shape our lives and start over lies in our hands a thousand times over.

]]>Let's talk about.. | The Things that Shaped UsHanging out with AMI & the Boys videofashionDiana RovanioThu, 28 Jan 2016 17:27:12 +0000http://www.rovanio.com/fashion-en/2016/1/28/hanging-out-with-ami-the-boys56182d55e4b072675de7bf27:561a5bc7e4b0dfaa034e9f52:56a9f8241a5203ae8b7b68d5"I need more..more boys." -Alexandre Matiussi, AMI FW15 Documentary Loïc
Prigent
In honor of the Paris Men Fashion Week that just passed and following our
series of backstage with AMI, I decided that we should hang out with the
boys a little bit longer and take a peek of what was happening behind the
scenes."I need more... more Boys."

-Alexandre Matiussi, AMI FW15 Documentary by Loïc Prigent

In honor of the Paris Men Fashion Week that just passed and following our series of Backstage with AMI, I decided that we should hang out with the boys a little bit longer and take a peek of what was happening behind the scenes.

This is a documentary of AMI's fashion show preparation for the Fall-Winter 2015 show that is done by Loïc Prigent ; a famous fashion journalist in France. He has worked with many famous fashion houses such as Chanel, Louis Vuitton, and numerous brands. He is known for his distinctive style on documenting fashion in film. If you haven't read my introduction on the brand AMI, you can read all about it here.

One of the reasons that I started this blog is also to expose what is happening behind the scenes in the grand creation of fashion. Having worked behind the scenes in various projects myself (photo styling, press relations, event manager, etc.) It is very touching and valuable to see the process of the creation that took place, the people involved and the roller coaster of emotions that makes the whole process more endearing. I hope you will enjoy this short documentary as much as I did. I would also love to hear your thoughts on it ;)

Ask any Parisian and they can tell you thatAMI by Alexandre Matiussi is one of the It brand for men's clothing right now. Ever since the launch of the brand in 2011 his collections have been making waves in the industry. in 2013, the brand was the first menswear brand who won the prestigious ANDAM prize. *He previously worked for Dior, Marc Jacobs and Givenchy where he jointly led the menswear design team before the arrival of Riccardo Tisci.*

AMI takes on the initials and the last letter of Alexandre Matiussi. AMI in french also means friend and that's how his clothes are, like your warm companion throughout the day. The brand itself started from his vision of making clothes that he would love to see on his friends. Looking at the fashion show , it feels like walking down a street early dawn after a night out with your friends. Each passerby a casual stranger making their way. There are ones who dresess all smooth in basic colors, ones with subtle shine in their outfit, ones who experiment with colors and ones who dreses boldly rocking the all shine glitter. Men often say that girls outfit outshine the boys. While that may be true, I think this time, it was truly the boys that shine.

Words by Diana Rovanio, images by Henri Nurmikolu

I do this job for only one reason: to see my collection on people,” says Mattiussi. “Success in fashion should mean just that.

One of the themes I love is fashion and dance. When the two collides it often makes for a beautiful pairing. Today I would like to introduce the rebellious dance duo AyaBambi (read more about them here). In the fifth installment of MOVEment (a project by AnOther magazine). Filmed by the artistic eye of Jacob Sutton, Chalayan's architectural lines combined with AyaBambi + Heffington's choreography brought life to an altogether new exoticism. The sharp contrast echoes the separation of the movements, fuses their encounters and amplifies the body as an extension of lines. Each gestures a sensual poetry in a powerful rhythm.